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WAGAWASHI. JAPANESE SWEETS.
INTRODUCTION
Wagashi is a name
given to Japanese sweets that are commonly consumed and produced during special
events throughout the year and act as gifts, offerings and often have symbolic
and historical connections. They are usually served with tea and come in many
different flavors, textures and colors. The art of Wagashi is in its design,
presentation and the importance placed on the effect of the 5 senses. Thus the
experience in consuming these Japanese sweets is highly unique and is designed
to stimulate much more than your taste buds.
HISTORY OF WAGASHI
The history of wagashi
began with kashi- nature's natural sweets of fruits and nuts. Over
centuries of rich Japanese history, processes, techniques, recipes, a distinct
cultural palate has evolved far beyond kashi, to produce the wide
selection of sweet wagashi treats of today. International influence had
significant impact in the development of wagashi; in fact the word wagashi
literally means Japanese ('wa')
sweets ('gashi' similar to kashi) coined in the Meiji era
(1868-1912) to identify Japanese desserts from foreign sweets. Historically the
three distinct categories of wagashi in order of development may be
identified as togashi, tenjin and nanban-gashi.
Togashi are the oldest of Japanese desserts and were
produced in Japan following Chinese example in the seventh to ninth centuries.
Characteristically togashi are deep fried kneaded wheat and rice flour
paste desserts which were traditionally served in aristocratic banquets. At the
time sugar was an imported luxury for medicinal use, rather than in sweets. In
contemporary times togashi are rarely made except as offerings in Kyoto
and Nara.
Along with the Chinese
custom for drinking tea, sweet tenjin (Ch. dianxin) snacks were
introduced to Japan in the 12th to 14th centuries. The popular yokan
(jellied sweets) and manju (sweet steamed buns) originate from this
period and are considered tenjin. Yokan were developed as a
vegetarian substitute for mutton soup for Japanese zen priests by steaming
azuki paste and kudzu starch into a thick pudding. Contemporary yokan has
evolved to better suit the Japanese palate by using kneaded kanten
(agar-agar) instead of kudzu starch.
Spanish and Portuguese
trade began in 1543 introducing European sweets; leading to the creation of nanban-gashi
sweets that boomed as a novelty at the time. Until tNaban-gashi
typically feature names derived from Portuguese. Kasutera is a form of the then
Japanese name for Spain 'Castilla', Konpeito (rock candy) is named after
the Portuguese confeito, and boro from the Portuguese bolo cake.
These sweets use large amounts of sugar and egg. Until this time, the Japanese
had used fresh and dried fruits and dairies and records have shown the Japanese
writing how treasured dried persimmons and raisins were. Even today, it is well
known that wagashi's level of sweetness must be that of a dried persimmon.
Nanban-gashi developed acclaim alongside the establishment
of the Japanese tea ceremony, and so became intertwined with tea ceremony
symbolism and ritual. Wabi-cha practice involves sweets such as nuts,
fruits such as persimmons and sweets such as manju or yokan being
served in tea ceremonies. Both the tea ceremony and Nanban-gashi drew
upon classical Japanese literature. Thus the ritualistic tea ceremony objects
were given poetic names and Nanban-gashi were made in shapes and colours
inspired by classic literature, poetry and the natural environment; a specialty
of Kyoto confectioners by the late 17th century. The popularity of sweets
amongst the wealthy ingrained these sweets in urban Japanese culture, favoured
as gifts and served to guests.
By the 18th and 19th
centuries sugar imports increased, domestic sugar-cane cultivation was
established and the production methods of sweets were vastly improved. Sweet
sales in the pleasure districts, along highways and around shrines and temples
boomed. Each locale developed signature desserts unique to their region.
Although more western-style cakes were introduced from the Meiji period
onwards, Wagashi remain the true Japanese dessert.
HOW THEY'RE MADE
The design of Wagashi
is highly dependent on the four seasons, the special occasion and five senses
(taste, appearance, texture, scent, sound). The great fascination in Wagashi is
there potential in satisfying much more than just the sense of taste. In that
sense, they’re not sweets for mindless consumption but more of an art piece
that invites you to experience a piece of Japan within that sweet itself.
The shape and color of
wagashi are based on Japanese paintings, textiles and are often representations
of nature. Taste is defined by
traditional Japanese flavors through a variety of beans and grains where the
freshness and quality is then revealed through the textural experience of the
sweet when placed in the mouth, held or cut. Wagashi give off very subtle
aromas which enhance the experience without overwhelming the flavor. Finally,
appealing to the sense of sound, the names given to various forms of Wagashi
are taken from classical poetry or words that are connotations to certain
seasons. It is the job of the Wagashi maker to produce a sweet that reflect
upon that season however is not obvious. For example, if the season was
Christmas, a sweet in the shape of holly is too obvious. Ideally a Wagashi that
hints the season allowing room for the consumer to imagine and envision for
themselves is one that is truly good culinary design in the sense of Japanese
sweets.
Due to the variety of
Wagashi, there is no single ingredient transcended throughout them all however
there is a few that is commonly used in this form of cuisine art. Azuki beans
are usually cooked into a paste and found in the centre of certain types of
Wagashi such as Manju, Mochi and Monaka. Kanten is another common ingredient
found in most jelly type Wagashi’s and is a rich fiber-rich gelatin made from
seaweed. Lastly, Wasambonto, the oldest domestic sugar, is made through a
labour intensive process and is often formed into moulded dry sweets called
Higashi.
The process of making
Wagashi is considerd a form of art itself. This is where the true beauty of
these sweets can really be seen.
Classified by production method, there are 5 main types of Wagashi:
Mushi mono
(steamed) such as manju which is much like neri mono but goes through a
steaming process.
Yaki mono
(baked) such as Yatsuhashi that is produced from glutinous rice flour and are flat thin slices that are intended to
wrap around another ingredient.
Nagashi mono
(jellied) such as Yokan which is a thick block of red bean paste and sugar. It
is formed in blocks and sliced for consumption.
Neri mono
(kneaded) such as mocha where ingredients (commonly rice) is formed through
hours of hammering and kneading forming an soft, sticky dough usually
containing azuki beans in the centre.
Uchi mono
(molded) such as Higashi (dried sugar and rice flour) that is blended and then
pressed into moulds.
Oshi mono
(pressed) feature intricate shapes that are impressed by hands to reflect on
the particular season and have very subtle changes of colour by using 2
different coloured layers.
WHEN THEY ARE EATEN
Whilst there are
several types of Wagashi that are eaten according to the changes in season,
many are made in association with upcoming Japanese traditional, historical and
seasonal holidays.
Seasonally, Wagashi
are made and designed to the upcoming season (eg. Spring) a full month ahead. The overall effect of the wagashi flavours, colours and
forms inspire the consumer with the essence of Spring.
Hanabira-mochi is a
special type of Wagashi that has become a popular consumption during the event
of the New Year. The design of this sweet is strictly traditional and comes in
a semi-circle form with a hint of pink showing through the centre and is only
appropriate during New Year's. It is a representation of purity, persaverance
and renewal connected with the coming of the near year.
During Children's Day,
Chimaki and Kashiwamochi wrapped in bamboo and oak leaves are special rice
cakes. The Japanese believe that bamboo has supernatural powers because in some
cases bamboo can grow up to 1m a day, and so these wagashi are eaten in
the hopes that their children will grow and their dreams will come true.
Kashiwamochi uses oak leaves following the idea that an old oak does not fall
until a new sprout appears, symbolizing a long family line.
Similarly, during
Hinamasturi (Girl’s Festival), Sakuramochi are given to the family as offerings
and placed in front of a set of Hina-dolls (dolls resembling the royal family).
Typically these sweets come in pink, white and green representing peach
blossoms, snow and new growth respectively and are thus symbolic of youth and
marks the advent of spring.
During the Moon-gazing
ceremony, the Japanese ceremoniously offer Tsukimi Dango (type of mochi
dumpling) to the lunar goddess. Because this day also coincides with the
harvest season of taro, beans and chestnuts, a number of Wagashi are made
containing these ingredients.
Wagashi are not simply
desserts. Exquisitely crafted to perfection, these sweets may be enjoyed far
beyond the taste sensation; tantalising all five senses, season to season in
every significant Japanese occasion!


REFERENCES
Richie, Donald (1993). "A
Taste of Japan" Food Fact and Fable What the People Eat Customs and
Etiquette", Kodansha International, JPN
Icon Group International (2009). "Persimmon: A Webster's Timeline History", 1596 -2007
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22 July 2011,
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Japanikuiki "The History of Wagashi" (2010).
viewed 22 July 2011,
<http://www.japanikuiku.com/24/the-history-of-wagashi/>
"About Wagashi" (2009). Wordpress. viewed 23
July 2011,
<http://okinaya-sohonpo.com/?page_id=1008>
Kikkoman Corporation. (2011). "Food Forum. The Japanese
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<http://www.kikkoman.com/foodforum/thejapanesetable/33.shtml>
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Confections". viewed 23 July 2011,
<http://www.infomapjapan.com/hstore/201001-infospecial2.phtml>
Toroya Confectionary Co. Ltd. (2011). "The Art of Five Senses" viewed 22 July 2011,
<http://www.toraya-group.co.jp/english/wagashi/art.html>
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2011,
<http://kamakura-stroll.blogspot.com/2010/05/childrens-day.html>
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